National Archival Development Program (NADP) Cuts Felt at MOA

By Krisztina Laszlo, Archivist

On April 30, 2012 the Audrey & Harry Hawthorn Library & Archives at the Museum of Anthropology learned that the National Archival Development Program (NADP) has been eliminated as a result of the most recent round of cuts to the heritage sector initiated by the federal government. The elimination of this 1.7 million dollar grant program will have a devastating effect on the ability of archival institutions across the country to engage in the vital work that allows them to preserve and to make accessible their holdings to the public. This funding was not a simple hand-out, but was leveraged by individual institutions with cash and in-kind contributions to complete projects that bring value to all Canadians. The NADP also funded our provincial database of archival holdings, MemoryBC, and enabled provincial and territorial archival councils to provide education, advisory and preservation services to archival institutions at the regional level. With the elimination of NADP funding these services are unlikely to continue.

The Audrey & Harry Hawthorn Library & Archives has directly benefited from NADP funding. In 2008 we were able to hire a short-term archivist to process and create a finding aid for the Vickie Jensen and Jay Powell fonds. This large set of records includes over 5 metres of textual records, 28,000 photographs and 500 audio recordings which were amassed over three decades of living and working with First Nations communities to help revitalize and preserve indigenous languages. The Jensen and Powell fonds is of vital importance to the cultural heritage of Canada’s First Nations and received a designation of Canadian Cultural Property in 2010 due to its outstanding significance and national importance.

Chief William T. Cranmer's potlatch, 1983

Chief William T. Cranmer's potlatch, 1983, Alert Bay, British Columbia.
Photographer: Vickie Jensen. Vickie Jensen and Jay Powell fonds, a005436c

More recently, the NADP funded a project to digitize a collection of open reel audio recordings, including field recordings from the 1950s and 1960s containing First Nations songs and stories. This collection of recordings also includes lectures and talks by noted Northwest Coast artists such as Bill Reid, Robert Davidson, Roy Vickers and others. With the creation of digital copies, we are able to make our audio recordings accessible to indigenous communities, scholars and the general public. However, this project is about more than just digitizing a specific collection of audio materials, it is also about creating the infrastructure and means to assist indigenous communities to address their own analog holdings. To this end, MOA partnered with the First Nations Technology Council (an Irving K. Barber Learning Centre funded project), who supplied equipment for the NADP project, in exchange for MOA and the Oral History Language Lab developing a tool-kit to assist with digitization at the community level. This important initiative began with seed money from the NADP, but will continue to benefit the preservation of indigenous heritage at the community level.

Xelsilem Rivers, digitization intern

Xelsilem Rivers, digitization intern, working on an NADP funded project
to digitize MOA's open reel audio holdings.

This project also received coverage on CBC’s The National: Xelsilem Rivers and Oral Histories: Saving Languages in 2012

With the loss of the National Archival Development Program the types of project described above will be difficult, if not impossible, to complete in the future. The Audrey & Harry Hawthorn Library & Archives are devastated by the loss of these funding opportunities, as are hundreds of other archival institutions across the country. Archives and the documentary heritage they safeguard, are integral to fostering a sense of democracy, in knowing ourselves and keeping traditions, languages and cultures alive.

If Archives are important to you, please consider the following advocacy initiatives:


Indigitization: A Collaborative Project at MOA to Digitize Unique First Nations Content

In 2011, the Audrey & Harry Hawthorn Library & Archives at the UBC Museum of Anthropology received funding through the National Archives Development Program to digitize a portion of our archives at risk, including open reel audio tapes that contain unique First Nations content.  This project is about more than just digitizing a specific collection of audio materials, however; it’s about creating the infrastructure and means to assist indigenous communities to address their own analog holdings. To this end, MOA recently  partnered with the First Nations Technology Council, who supplied equipment for the project, in exchange for MOA and the Oral History Language Lab developing a tool-kit to assist with digitization at the community level.

To carry out this work, MOA engaged Xelsilem Rivers, a Squamish/Kwakwaka’wakw artist, writer, activist, blogger, cultural educator, and language enthusiast. Below is the text of a blog Xelsilem wrote about his internship at MOA. For more information on his research, please visit www.SquamishLanguage.com


Indigitization at MOA

By Xelsilem Rivers

I am an indigenous person who is extremely passionate about cultural resurgence in my community, about decolonizing, and reclaiming our old ways. My chosen path has identified my ancestral languages as one of the areas where I can help my people.

I am presented with constant challenges working on language revitalization. The language of my people is considered critically endangered. I have few people that I can regularly go sit with to hear the beauty, rhythm, or “song” of the language. A language is more than a set of grammatical rules – it has a song, a flow, a cadence. It’s the accent and tone. With so few options to hear, or become immersed in my language, the recordings of our elders have become invaluable.

Reel-to-reel technology was once a primary tool for recording First Nations language and oral histories in British Columbia. Now, 60 years after its advent, it has become apparent that this media has a shelf-life – it will someday decay beyond repair. Collections of analog tapes are held by First Nations Communities, organizations and families. If, tapes that may contain the last known recording of a song, or the last unique spoken-word of an endangered language should the reels decay beyond repair this rich cultural content would be lost forever.

Digitization of open reel media from the MOA Archives is the work I have been doing as the Digitization Intern here. Digitization is transferring analog media (things like audio reels or cassettes) to become digital media (like wave or mp3 files). In my work I’ve uncovered recordings of traditional singing by elders, language interviews, and oral histories containing legends and stories. The recordings also includes lectures, interviews and talks with noted anthropologists, artists, and people who had been involved with UBC and MOA (Wayne Suttles, Audrey Hawthorn, Bill Reid, Homer Barnett, etc.)

The MOA Centre for Cultural Research and The First Nations Technology Council received funding from the Irving K. Baker Learning Centre at UBC and the National Archival Development Program to create a “First Nations Digitization Toolkit”. At MOA, we have been developing a portable digitization system for First Nations communities. This system will assist them in preserving and digitizing their own valuable oral histories and language recordings.

Indigenous languages are in a critical state. Numerous academics have worked with elders and community members to document and preserve oral history. These recordings hold the voices of elders who may have been born prior to 1900, and possibly knew people born just after the 18th century. (For most of the British Columbia coast, contact occurred around the 1770’s). Community members, cultural leaders, and other researchers need to have access to the knowledge and history preserved on these recordings.

This project addresses the need to support researchers to access recorded oral histories such as . interviews with elders, language recordings, and traditional songs. These recordings carry valuable information and histories about our ancestors. Through digitization they can be preserved and accessed by researchers and community members for generations to come. We want to ensure our history and knowledge can be passed on, and we thank our ancestors for the foresight to see the importance in documenting and preserving our rich history and culture.


Speaking Highlights for Global Dialogue: Remixing Art and Indigeneity, Again

MOA is very excited to host our upcoming Global Dialogue: Remixing Art and Indigeneity, Again.  This event (May 12, 10 am to 6 pm) features a collaboration of artists, scholars and curators inspired by the artistic legacy of Doug Crammer. A variety of topics will be addressed, including, alternative expressions of artistic engagement and resistance used by Indigenous artists for decades, the complexities of participating in the art market, and the critical role of Indigenous curators.

Joining us is curator, author, and scholar Paul Chaat Smith, who is currently Associate Curator at the Smithsonian’s National Museum of the American Indian. Paul Chaat Smith has written the books Everything You Know about Indians Is Wrong and Like a Hurricane: the Indian Movement from Alcatraz to Wounded Knee. His writinh focuses on the landscapes, politics, and cultures of the American Indian. Paul Chaat Smith encourages others to “hit the reset button about Native discourse.” His work is powered by the desire to create this kind of awareness and instil a new way of thinking. He addresses the inspiration for Everything You Know about Indians is Wrong in this Q&A with Paul Chaat Smith. 

Photo courtesy Paul Chaat Smith, National Museum of the American Indian.

Louie Gong, artist

Another notable contributor to the Dialogue, Remixing Art and Indigeneity, Again, is art icon, educator, and activist Louie Gong. He is the founder of the company Eighth Generation, which infuses traditional Coast Salish art with icons from popular culture. Gong strives to make impacting impressions about identity by clashing cultural concepts of different worlds. The work below by Louie Gong is called “Wolf-Chucks”. Louie has many other, one-of-a-kind, authentic youth inspired designs which can be admired on his website: www.eighthgeneration.com

Louie Gong’s work is an expression on behalf of people who walk in multiple worlds, and has received a lot of recent media attention. ”UNRESERVED: The Work of Louie Gong,” is a short film which captures Louie’s unique style of merging art and activism. The film is currently screening at festivals around the world. To watch a teaser of Gong’s short film and learn about his inspiration, click on the following link: UNRESERVED Trailer.
Join us on May 12 from 1-6 pm (the Dialogue is free with regular Museum admission), and meet Paul, Louie, and a range of other fantastic curators, artists, thinkers, movers, and shakers!

The Salford Totem Pole (song)

And here are the lyrics to Pete Martin’s song on the Salford Totem Pole. Thanks, Pete, for permission to post!

The Salford Totem Pole

By Pete Martin

I was born from the trunk of a West Red Cedar

Carved by the hands of Chief Doug Cranmer

Sailed o’er the ocean on a Manchester Liner

That’s how I came to Salford

They stood me up in a prominent place

Where I watched the amazement on many face

With my look of grandeur and touch of grace

I’m the Salford Totem Pole

 

Thunderbird sits ruling the skies

Ancestor of the Namgis tribe

Then the killer whale is no surprise

Another great crest of the Namgis soul

Raven she’s a Tlingit from Tongass

Chief with his copper showing plenty brass

I like to think I’m a work of class

I’m the Salford Totem Pole

 

Salford people flock to see

Three fine artists from North BC

They’ll be amazed when they finally see

Their wonderful work in restoring me

 

I’m not just a piece of wood

I’ve become a symbol of brotherhood

From Namgis people on Alert Bay

To Salford where I’m proud to stay.

 

We are proud of the cultures that we share.

 

They’ll shout from the rooftops good and loud

When I’m back once again looking tall and proud

With respect gushing out from the Salford crowd

That’s how I see my new home

Thank you Stephen, thank you Joe

Kevin, Edgar Bruce also

You’ve all left a mark on the Salford I know

I’m the Salford Totem Pole


The “Salford” Totem Pole

By Matthew Willis

On March 28th, singer-songwriter Pete Martin emailed MOA with a song he wrote called, “I am the Salford Totem Pole”. The song is about a totem pole carved by Doug Cranmer in 1969 for a commission given to him by the (no longer existing) Manchester Liners. The pole was an emblem created with the aim of representing and celebrating the history of trade between Canada and the United Kingdom. The pole was brought back to the United Kingdom and stood in Salford until it was taken down due to weather damage in 2005. Somehow, the totem ended up in a warehouse in Salford Quays until it was found by  Councillor Steve Coen who requested it be displayed again in Salford proper and restored.

This link connects to an interview done on the day the totem pole was removed from the warehouse it was housed in and moved to its restoration location in December 2009:

http://www.salfordonline.com/totempole_page/16958-video:_salford_totem_pole_finally_moves_home_(part_8).html

Kevin Cranmer, Doug Cranmer’s nephew, and his cousin Edgar Cranmer worked with Bruce Alfred in the summer of 2010 to restore the pole. Originally carved from British Columbian Pine (most totem poles are carved from red cedar), the three carvers used planks of cedar  to restore the damaged fragments of Doug Cranmer’s original pole. On July 1st, 2010, the fully restored pole was displayed in Trafalgar Square in London in collaboration with the Canadian Embassy on Canada Day.

This link connects to an interview the three carvers did just before they started the restoration in 2010:

http://www.salfordonline.com/totempole_page/21236-video:_kevin_cranmer_and_friends_arrive_back_in_salford_to_start_restoration_work_on_totem_pole.html

With the restoration complete, the pole was brought back to Stanford in early 2011. There was some deliberation over where it would be raised. There is an outlet mall that is a popular gathering place for the public and the decision was made to raise it there.

Here is a link showing Kevin Cranmer re-awakening the pole to be raised: http://www.dreamscope.tv/additional/salford-totem-pole

This last clip shows the people of Salford voicing their thoughts as to where the pole should be raised. Currently, it is on show in the Museum Of Museums at the Trafford Centre in Manchester, UK, just beside Salford, but will be returning to its adoptive home in the coming months where it will be given a permanent location.

http://www.salfordonline.com/totempole_page/26736-video:_salford_streettalk_on_salford’s_totem_pole.html

It is fascinating for us at MOA to see Doug Cranmer’s work celebrated so enthusiastically in a place so far away from where Cranmer’s first “exhibition” is being held. This is a quote from Richard Sumner that, I feel, best encompasses the majesty and tone of the Salford Totem Pole, Pete Martin’s song and Doug Cranmer himself. The discovery of something so international contrasted to Cranmer’s humble nature make this even more extraordinary.

“I think he just liked to fly below the radar. He was happy if he had a glass, his car, a pack of smokes and a bottle of scotch. He’d leave all the glory to everybody else. He wasn’t really one to toot his own horn. It’s up to us to do it.” –Richard Sumner.

Photo by Vickie Jensen


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